Frye and MacDonald - |frī| |məkˈdänəld|

--How does Frye relate his work (including his film programming) to the following movements / concepts / genres:

Minimalism -Frye would use old or disgarded films and show them as they were to "show it as something you don't have power over." As he explains it as "not trying to assert yourself over the film." He lets his film create themselves.

Fluxus - Many of his films such as The Most Important Moment in My Life (Infinite Set) use the same concepts and techniques to create art as a performance.

Performance (and performance art) - Just like Fluxus films some of his films document just one movement of the human body is slow motion such as he Most Important Moment in My Life (Infinite Set) as mention earlier.

--How does Frye respond to the question about what he “adds” to films such as Anatomy of Melancholy?

Hey explains the way he lets films do what they are doing in a minimal ways just as Warhol did with him films, which Frye believes shaped the American Avant garde.

Scott MacDonald, “Maintenance”

--What are some of the reasons for rental income growth at Canyon Cinema between 1980 and 2003? How did Canyon distinguish itself from the Filmmakers Cooperative and the Museum of Modern Art?

Canyon was constantly updating their catalogues. With the growing interest and education use with the Avant garde, the income grew tremendously. The constant updating distinquished it from other similar organizations.

--What problems and controversies did video distribution cause for Canyon in the 1990s? To what degree were the sides of the debate related to the age of the filmmakers on each side? Based upon the interview with Dominic Angerame at the end of the chapter, what was his position on the video debate?

Their original mission only mentioned 16mm and super 8mm film. I sides of the argument basically depended on what the filmmaker knew how to use. It was more about an unwillingness to learn new technology than it was an aesthetic issue. His concerns seemed to be in the logistics of distribution without copywrite or bootlegging issues, not so much with the earlier argument of video vs film.

--What were the advantages and disadvantages to funding from the National Endowment from the Arts? What controversies developed related to the publication of Canyon Cinema Catalog #5? Although the national government was picking up the tap for the new edition of the catalogue, they also had a say in what would be published. This form of censorship eventually sunk the whole project.